^ I can get that. Bit like me with Black Holes. The flow and production/mastering isnít there but I have a huge soft spot for itís aesthetic/feel, as well as some obvs brilliant songs. Still couldnít put it above Origin though, which is an out-and-out masterpiece imo (aside from FG).

Absoís weird to me. You always see it touted as among their best, if not #1 and, in theory, itís about as Ďquintessential Museí as you can get sonically (mastering aside) but I donít think Iíve ever felt anywhere near that level of connection to it. The qualityís just as scattered as the flow to me, for every good song thereís one Iím not interested in.

AP? Great! TIRO? Meh. S4A? Meh. Stockholm? Okay, getting good again. FAWY? Eh, 50/50. Second half gets even more polarising as well, canít connect with an album as up and down as that.

Yeah, I can definitely understand that point of view on Absolution. I think as Kueller said though, it's an album where I actually like most of the songs so much, or have liked them especially at some point in the past, that that kind of scattered alternation doesn't really bother me that much. There are songs I haven't really listened to properly for ages (TIRO, TSP, TOADA, etc), but I've still loved them at some point and a lot of the others are brilliant enough that even without them, it doesn't really change my view of the album.

Origin Of Symmetry is a bit of a strange one for me now in that it's actually quite rare that I listen to it as an album. I'm not sure if it's just down to the album versions of the songs not really living up to their live versions or if the older guitar tone on there doesn't really work as much for me, but it's become a bit of a Showbiz for me, where I'll mostly listen to the first half a dozen songs and then skip to the album closer, haha! They're still good songs obviously, but apart from CE there aren't many songs I still listen to that often.

Overall, I'd probably go for something like this out of 10 including bonus tracks...

I mean, in a literal sense that itís old and a hit, sure. Nowt particularly Muse about it though, other than Mattís vocals.

Move Showbiz ^^^^^^^^^ that-a-way

And Chris' bass. If it weren't for Hysteria, this would be his calling card I think. But yeah, it doesn't have all the crazy guitar work many "Musier" songs might have, but it's one of their defining moments nonetheless.

T2L, TR and Drones are basically interchangable imo. I just put them in that order based on how many "good" songs(in my book) there are on the albums and how frequently I listen to them.

While T2L isn't for everyone, I genuinely like the experimenting. Tracks 1-7 are all good or at least well above average. I don't hate Madness, I'm just bored of it. Basically the only really weak point of the album is Explorers, with maybe the topic of reversing the order of Unsustainable and IS thrown into the mix for good measure.

TR would be great if it wasn't so boring. I don't know if it's the sounds they used, the mixing or what, but Resistance especially lacks the huge layered sound the guys can usually produce. And that's kinda bad considering it's the title track and #2-slot on the album. Tracks 6-11 are basically straight fire.

Drones is... I don't know. I really like the music, but I kindasorta hate the lyrics. People might say Psycho is fanservice taken to a too high degree and that Reapers is just silly, but I dig those songs. The lyrcis are where the letdown is for me, especially mentioning the fucking god damn shitstain Drones in every fucking song.

OOS has the most creativity, originality, and consistency, with a great clash of punk with prog, early computer game music with Rachmaninov and metal riffs. Then throw in some wonderful vocals and unusual chords and song structuring. It's just a brilliant, exciting album that doesn't sound like anyone else.

Absolution has some of their best tracks and a more cohesive sound, really pushing their sci-fi apocalyptic ideas, making it more 'futuristic' and epic. I used to rank it up there with OOS. But listening back to it these days, I find it a little bloated with a few duds scattered throughout to persistently grind things to a halt. Still a really good album though.

BH&R is great fun. A colourful album with some fantastic tracks. It really felt like they were having a blast making it. But it does have a couple of plodders too and saw the start of the really cheesy ballads.

Showbiz is raw and often silly but it has some wonderful tracks. And the rawness is part of its appeal.

The Resistance is very hit and miss and the hits just weren't quite up there with what they'd done before. But it is still a lot better than what would follow.

Drones and T2L saw them drop off a cliff. If OOS sounded like no one else, then these albums sound like bland, hamfisted rip-offs of other artists. I struggle to choose between them. Drones is blandness personified with cringey lyrics, but T2L's scattergun approach gets to be bottom for being at least as bad, having no cohesion and ending with Chris' bland EP and two underdeveloped instrumentals, like they simply couldn't be arsed to finish it.

TR is my favorite for many reasons. Every song is unique and memorable, the scope of the music is incredibly ambitious, the musicianship is top notch, the songwriting tends to be superb, the lyrics are interesting without being too serious or cringey, the production is some of Muse's absolute best as it creates a beautiful and symphonic soundscape across the entire album, and it was the first Muse album I ever heard and the one that got me into them.

Otherwise I don't think my ranking is terribly abnormal, bar Drones at number three. What can I say, I'm a sucker for hard rocking fun.